Patricia Kopatchinskaja
Violin

“As an interpreter I am most interested in communicating the meaning and inner workings of the music. Curiosity drives me to explore many different musical frontiers.” 
- Patricia Kopatchinskaja

Contacts

Jasper Parrott +44 (0)20 7229 9166
Ariane Levy-Künstler +44 (0)20 3725 9138
Camilla Walt +44 (0)20 3725 9151

Biography

Artistic Partner: The Saint Paul Chamber Orchestra

 

Violinist Patricia Kopatchinskaja's versatility shows itself in her diverse repertoire, ranging from baroque and classical often played on gut strings, to new commissions and re-interpretations of modern masterworks. 

Kopatchinskaja’s 2017/18 season commences with the world premiere of her new project Dies Irae at the Lucerne Festival where she will be ‘artiste étoile’. Dies Irae is her second staged programme following the success of Bye Bye Beethoven with Mahler Chamber Orchestra in 2016 and uses the theme from the Latin Requiem Mass as a starting point for her new concept featuring music from Gregorian Chant and Early Baroque to Giacinto Scelsi and Galina Ustwolskaja. The North American premiere will take place at the Ojai Festival in June 2018 where Kopatchinskaja will be Music Director. 

Artistic Partner: The Saint Paul Chamber Orchestra

 

Violinist Patricia Kopatchinskaja's versatility shows itself in her diverse repertoire, ranging from baroque and classical often played on gut strings, to new commissions and re-interpretations of modern masterworks. 

Kopatchinskaja’s 2017/18 season commences with the world premiere of her new project Dies Irae at the Lucerne Festival where she will be ‘artiste étoile’. Dies Irae is her second staged programme following the success of Bye Bye Beethoven with Mahler Chamber Orchestra in 2016 and uses the theme from the Latin Requiem Mass as a starting point for her new concept featuring music from Gregorian Chant and Early Baroque to Giacinto Scelsi and Galina Ustwolskaja. The North American premiere will take place at the Ojai Festival in June 2018 where Kopatchinskaja will be Music Director. 

The Stravinsky Violin Concerto will be a particular focus in 2017/18 - performances include the London Philharmonic Orchestra under Alain Altinoglu in London and on tour around Europe, Teodor Currentzis and the Tonhalle-Orchester Zürich and with Gustavo Gimeno and the Rotterdam Philharmonic Orchestra. Kopatchinskaja will also appear with the Mahler Chamber Orchestra under Rafael Payare, Orchestra Sinfonica Nazionale della RAI and will be part of the Southbank Centre’s Ligeti weekend performing his Violin Concerto with Aurora Orchestra under Nicholas Collon and the Horn Trio with Pierre-Laurent Aimard and Marie-Luise Neunecker.  

Chamber music is immensely important to Kopatchinskaja and she performs regularly with artists such as Markus Hinterhäuser, Polina Leschenko, Anthony Romaniuk and Jay Campbell appearing at such leading venues as the Berlin Konzerthaus, London’s Wigmore Hall, Vienna Konzerthaus and Concertgebouw Amsterdam. 

A prolific recording artist, her latest release Death and the Maiden for Alpha is with The Saint Paul Chamber Orchestra with whom she is an Artistic Partner.

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Contacts

Jasper Parrott +44 (0)20 7229 9166
Ariane Levy-Künstler +44 (0)20 3725 9138
Camilla Walt +44 (0)20 3725 9151

Reviews

“In between came a wondrous account of Berg’s violin concerto, written both to mark a death and in the year that Berg himself died. Patricia Kopatchinskaja’s account was fragile, eloquent and never portentous. Her playing captured this heartbreaking music with just the right mixture of tenderness and transcendence.” (Martin Kettle, The Guardian, February 2017)

“[Ligeti’s Violin Concerto] suits the flamboyant Patricia Kopatchinskaja, who has both the monster technique and the theatricality that the piece demands…. The paradox of her extroversion is that it never seems exhibitionistic. Every gesture serves to underscore the music, and her playing has an animalistic wildness to it that is anything but self-serving. This is playing with guts and meaning, with burly physicality and risk, with a formidable toolkit that can take in everything from fragility to brutality.” (Shirley Apthorp, Financial Times, February 2017)

“Patricia Kopatchinskaja shows her astonishing artistry on 'Take Two' and 'Chiaroscuro ... Her body and her instrument and the music she makes all seem one. She is ever thrilling alive to the moment ... I don't have to think twice about making my recording of the year." (Mark Swed, Los Angeles Times, November 2015)

“In between came a wondrous account of Berg’s violin concerto, written both to mark a death and in the year that Berg himself died. Patricia Kopatchinskaja’s account was fragile, eloquent and never portentous. Her playing captured this heartbreaking music with just the right mixture of tenderness and transcendence.” (Martin Kettle, The Guardian, February 2017)

“[Ligeti’s Violin Concerto] suits the flamboyant Patricia Kopatchinskaja, who has both the monster technique and the theatricality that the piece demands…. The paradox of her extroversion is that it never seems exhibitionistic. Every gesture serves to underscore the music, and her playing has an animalistic wildness to it that is anything but self-serving. This is playing with guts and meaning, with burly physicality and risk, with a formidable toolkit that can take in everything from fragility to brutality.” (Shirley Apthorp, Financial Times, February 2017)

“Patricia Kopatchinskaja shows her astonishing artistry on 'Take Two' and 'Chiaroscuro ... Her body and her instrument and the music she makes all seem one. She is ever thrilling alive to the moment ... I don't have to think twice about making my recording of the year." (Mark Swed, Los Angeles Times, November 2015)

“Patricia Kopatchinskaja excels in Thomas Larcher's extraordinary violin concerto; she brings a fiery originality to everything she plays.” ***** (Michael Church, The Independent, October 2015)

“What is beyond argument is her fierce, questing intelligence, allied to a virtuosity that lets her turn her instrument into a thousand different characters in a drama to which only she has the script.” (Richard Morrison, The Times, March 2014)

“Kopatchinskaja’s inimitable range of tonal colours and dynamics came to the fore.” (George Hall, The Guardian, March 2014)

“Kopatchinskaja's outer movements are full of sharp wit and glitter….. The closing minutes of the Finale are spectacular, each gear change accomplished with devilish glee.” (Graham Rickson, theartsdesk.com, November 2013)

"This is a violinist with something more important to offer than dazzling technique. It’s called character." (Geoff Brown, The Times, October 2013)

“Kopatchinskaja's talent is formidable, her energy boundless, and she infuses the musicians around her with the power of musical possibilities. Like a lithe sapling on stage, she draws musical energy as a tree draws nutrients and translates this deep power through supple movement and expressive bowing into unforgettable shared experiences.” (Canberra Times, July 2013)

“Kopatchinskaja is certainly a performer who puts the fun back into music making.” (Steve Moffatt, The (Australian) Telegraph, July 2013)

“The symphony was preceded by an irresistible performance of Prokofiev’s Second Violin Concerto. The young, bare-footed, tousle-headed Patricia Kopatchinskaja, from Moldova, made it very much her own. No high-gloss virtuosity here, but an elusive, unpredictable and wonderfully imaginative performance of great sweetness and great strength.” (Hilary Finch, The Times, May 2013)

“There are so many young violinists making waves today, but no-one more exciting than Patricia Kopatchinskaja…” (Leslie Wright, MusicWeb International, March 2013)

“In everything I’ve heard her play Patricia Kopatchinskaja marries consummate technical brilliance and an amazing aural imagination with a capacity to bring completely new interpretative perspectives to some very familiar music.” (Erik Levi, BBC Music Magazine, February 2013)

“Despite the huge technical challenges thrown at her, Patricia Kopatchinskaja plays with a deep and selfless understanding of each score.” (The Sunday Times, January 2013)

"In the culminating cadenza - which Ligeti asked the soloist to devise - Kopatchinskaja’s violin comes close to disintegrating under the force of her spectacular display". (Arnold Whittall, Gramophone, December 2012)

The notes seem to tumble from the young Moldavian - for some time now an additional star in the violinist sky - like coloured garlands. Her playing is quasi weightless, even if the piece is as complex as Bartóks second violin concerto. (Frankfurter Neue Presse, July 2012)

"It quickly becomes clear that for Kopatchinskaja only one thing is of importance: music. She devotes herself to Tchaikovsky’s violin concerto with an unrestrained performance at the verge of obsession. If she does not play herself, she sings and swings with the music. But when she plays she seems to merge with her instrument." (Südkurier, April 2012)

The Moldovan violinist Patricia Kopatchinskaja is endowed with an explosive technique. She can reach every possible colour of tone and conjure captivatingly beautiful cantilenas. (Deister und Weserzeitung, March 2012)

"The 34-year-old Moldavian's interpretation Beethoven's Violin Concerto was so incredibly outrageous, so lively and so original that one could only marvel. It was one of the most exciting performances of Beethoven's Solitaire, one has ever heard in the concert hall.” (Ruhr Nachrichten, May 2011)

"Gifted Moldovan violinist Patricia Kopatchinskaja has slimmed her tone to a fragile finesse…the freshness of this interpretation is exhilarating." (Geoff Brown, The Times, November 2009)

Patricia Kopatchinskaja's warmly recorded account of the Beethoven Violin Concerto must be one of the most stimulating and provocative that has ever been committed to disc.  Studying the composer's autograph has inspired her to provide a radically different interpretation of the work to the one with which most people will be familiar. (BBC Music Magazine, December 2009)